José-Carlos Mariátegui explores the second stage of Peruvian art (after 2007), arguing that its significant increase of experimental techniques and hybrid art forms is allowing Peruvian art to develop its own artistic language, independent from its neighboring cultural influences: Brazil, Argentina and Mexico. He states that the influence of Francesco Mariotti and Gianni Toti on the contemporary Peruvian artistic scene, through these artists' continuous dialogue with other artists and theorists, has been seminal in initiating the avant-garde revolution in the otherwise inert electronic art of Peru.